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Antonio Carlos Gomes: Un Musicista Tra Scapigliatura E Verismo

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Antonio Carlos Gomes: Un Musicista Tra Scapigliatura E Verismo Opera Antonio Carlos Gomes: un musicista tra Scapigliatura e Verismo . Gian Guido Mussomeli Antonio Carlos Gomes si affaccia all’attività artistica Ovvio che questo movimento, nato in tra il 1861 (data del suo esordio operistico in Brasile) e contrapposizione al melodramma romantico, di cui il 1870 (debutto sulle scene italiane). Qual’era la situa- Verdi era l’esponente più accreditato, si riproponesse la zione dell’opera italiana in quegli anni? A guardare a ricerca del nuovo genio nazionale che sapesse incarnare posteriori, la risposta più ovvia sarebbe che il panorama lo spirito del rinnovamento. Erano in molti ad essere musicale del nostro paese era completamente dominato aspiranti alla successione, e tra questi possiamo ricorda- dalla figura di Giuseppe Verdi. re Errico Petrella, Faccio, Filippo Marchetti, Stefano Guardando però le cose un po’ più da vicino ci si Gobatti e Amilcare Ponchielli. Ecco una tabella accorge che questo periodo della storia del nostro cronologica dei loro principali lavori rappresentati tra il melodramma fu in realtà abbastanza tormentato e 1858 e il 1873: complesso. Già lo stesso Verdi si trovava in una fase 1858: Jone (Petrella) decisiva della sua evoluzione stilistica, che è stata 1863: I Profughi fiamminghi (Faccio) opportunamente inquadrata da Julian Budden1: 1864: La Contessa d’Amalfi (Petrella) 1865: Amleto (Faccio) È stato detto che tutte le svolte nella storia della musica 1865: Romeo e Giulietta (Marchetti) avvengono al posto giusto, all’inizio o alla metà del secolo. L’opera nacque verso il 1600; la prima Sinfonia di Beethoven 1868: Mefistofele (Boito) e i quartetti op. 18 furono pubblicati nel 1800. Subito dopo 1869: I Promessi Sposi (Petrella) il 1850, all’età di 38 anni, Verdi chiudeva, con Rigoletto, un 1869: Ruy Blas (Marchetti) periodo dell’opera italiana. L’“Ottocento” musicale era ormai concluso. Verdi conti- 1872: I Promessi Sposi (Ponchielli, 2° versione) nuerà a servirsi di alcune sue forme per le opere immedia- 1873: I Goti (Gobatti) tamente successive, ma in uno spirito affatto diverso. Ma in realtà, cosa ci si riproponeva di rinnovare? A leggere questo passo di Boito, si ha l’impressione che le In Italia, il predominio di Verdi, che era giunto allo idee dei riformisti fossero poco chiare3: zenit negli anni Cinquanta, viene rimesso prepotente- mente in discussione da una serie di polemiche concer- L’opera in musica ‘del presente’ per aver vita e gloria e nenti la “musica dell’avvenire”, da un rinnovato interes- toccare gli alti destini che le sono segnati, deve giungere, se per la musica strumentale, che sfocerà nella costitu- a parer nostro: 1. La completa obliterazione della formula. 2. La creazione della forma. 3. L’attuazione del più vasto zione della Società del Quartetto (istituzione milanese sviluppo tonale e ritmico possibile. 4. La suprema incarna- che farà conoscere i grandi capolavori della musica zione del dramma. tedesca in particolare; tra gli altri anche la Nona Sinfonia di Beethoven, eseguita il 18 aprile 1878 per la prima E ancora4: volta in Italia, diretta da Franco Faccio) e dalla nascita del Shakespeare è sferico, Dante è sferico, Beethoven è cosiddetto gruppo della Scapigliatura. Il movimento sferico; il sole è più semplice del garofano, il mare è più firmava il suo atto di nascita nel 1863, prima con la semplice del ruscello, l’adagio di Mendelssohn è sferico e rappresentazione de I Profughi Fiamminghi di Franco più semplice dell’andante di Mozart. E perciò anche più fortemente concepibile. Faccio, alla Scala, l’11 novembre (il libretto era di Emilio Praga) e poi con la pubblicazione, il 22 novembre dello Chi ci capisce qualcosa è bravo, per dirla schietta- stesso mese, sul “Museo di Famiglia” di Treves, della mente. irriverente Ode Saffica di Boito2. In realtà, il desiderio era quello di aprire la cultura Nel 1865 ancora Faccio presentava l’Amleto, su testo italiana ai grandi movimenti artistici d’oltralpe. E, per ciò di Boito; ma le diatribe attorno all “musica dell’avvenire” che concerne l’opera, il modello dichiarato non era dovevano toccare l’apice la sera del 5 marzo 1868, con Wagner (Boito era a quell’epoca antiwagneriano dei più il clamoroso fiasco scaligero della prima versione del convinti) ma piuttosto Meyerbeer e il Grand Opéra. Ed Mefistofele, e quindi nel 1870 con la prima rappresenta- ecco che arriviamo all’altro fatto di estrema importanza zione italiana del Lohengrin al Comunale di Bologna (ad per comprendere le vicende artistiche di quegli anni: la una delle repliche assistette, non visto, anche Verdi, e a diffusione e l’affermazione sulle scene italiane del Sant’Agata si conserva uno spartito dell’opera con repertorio operistico francese. Il teatro musicale italiano parecchie annotazioni, non tutte di tono benevolo) e si era servito abbondantemente di fonti francesi per i con la tempestosa caduta della medesima opera, alla libretti5, ma l’opera francese non era arrivata che a Scala, nel 1873. spizzichi sulle nostre scene. Ed ecco, in quegli anni, 8 — Diastema — Opera l’arrivo sui palcoscenici italiani di Roberto il Diavolo, dal 1811 maestro di cappella della corte, mise in scena Ugonotti e Profeta insieme al Faust di Gounod (prima Matilde di Shabran e Cenerentola (1829), La Gazza alla Scala l’11 novembre 1862) e all’Ebrea (La Juive) di Ladra e L’italiana in Algeri (1830). Dal 1846 si possono Halevy (alla Scala nel 1865). L’ultimo lavoro di Meyerbeer, registrare cronache di stagioni liriche regolari a Rio de L’Africana, lasciata incompiuta dall’autore e terminata Janeiro, dal 1854 a Bahia, dal 1865 a Recife e pure in da Fetis, arrivava i, Italia il 2 novembre 1865, al Comu- posti come Sao Luis do Maranhao, dove nel 1857 si nale di Bologna, a cinque mesi scarsi dalla prima rappresentarono Nabucco ed Ernani e nel 1859 Lucrezia esecuzione (28 aprile). Alla Scala l’opera era rappresen- Borgia. tata il 19 marzo 1866 e otteneva un tale successo da Tra i componenti delle compagnie italiane ricordere- essere replicata per tre stagioni consecutive. mo, tra i nomi notevoli, il soprano Augusta Candiani Nel 1866 la Scala accoglieva Don Sebastiano e La (debutto a Rio nel 1844), Ida Eltavina (1849), Rosina Favorita che Donizetti aveva scritto per l’Opèra e nel Stoltz (1852) ed Enrico Tamberlick. 1867 era la volta di Romeo e Giulietta di Gounod (23 L’opera di Sao Paulo iniziò la sua attività nel 1874, ma repliche in due edizioni) e pochi mesi dopo, nel 1868, già dal 1869 compagnie liriche italiane vi si erano spinte. La Muta di Portici di Auber, a quarant’anni dalla prima Ecco, per farci un’idea, come Marcello Conati8 ha rappresentazione (4 recite). ricostruito la cronistoria delle “prime” verdiane a Rio de È sintomatico, in questi anni, il fatto che Verdi, tra il Janeiro: 1859 (Ballo in Maschera) e il 1887 (Otello) non presen- Ernani 1846 - I due Foscari e I Masnadieri 1849 - terà alcuna prima rappresentazione di nuovi lavori sulle Macbeth 1852 (inaugurazione del Teatro Lyrico scene italiane; uniche eccezioni, le versioni rivedute di Fluminense) - Nabucco, Luisa Miller e Attila 1853 - Il Forza del Destino, Simon Boccanegra e Don Carlo, Trovatore 1854 - La Traviata 1855 - Rigoletto 1856 - sempre alla Scala, rispettivamente nel 1869, nel 1881 e Giovanna d’Arco 1860 - Un ballo in maschera 1862 - nel 1884. È dunque, questa, una fase estremamente ricca Aroldo e Vespri Siciliani 1864. Inoltre nel 1857 veniva di fermenti, nella quale si inserisce, a partire dal suo fondata la Imperial Academia de Musica e Opera arrivo a Milano, avvenuto il 9 febbraio 1864, il personag- Nacional, fondata da Josè Amat, nobile spagnolo emi- gio principale della nostra storia, Antonio Carlos Gomes. grato in Brasile a causa della rivoluzione carlista. Il Il futuro compositore era nato a Campinas, nello programma dell’istituzione veniva pubblicato il 13 stato di San Paolo, in Brasile, l’11 luglio 1836, da una aprile.In esso si prevedeva, tra l’altro la diffusione del famiglia di origine spagnola (la nonna invece era grande repertorio in esecuzioni tradotte in portoghese un’indigena guarany). Dopo i primi studi col padre, (nel 1856 Il Trovatore, nel 1859 I Lombardi alla prima direttore della banda cittadina, sposatosi quattro volte e Crociata e nel 1862 La Traviata) e inoltre l’inserimento padre di 26 figli, il nostro studia, dal 1860, al Conserva- in ogni stagione di un’opera nuova di autore brasiliano, torio di Rio de Janeiro, col maestro italiano Gioachino che avrebbe dovuto utilizzare elementi folklorici nazio- Giannini, e debutta come operista, auspice l’Imperial nali9. Fu appunto sotto gli auspici dell’Opera Nacional Academia de Musica e Opera Nacional, il 4 settembre che Gomes, il quale vi lavorava come maestro sostituto, 1861, con La noite do Castello, ben accolta al Teatro potè rappresentare le sue due prime, opere in lingua Lirico Fluminense di Rio. Nel 1863, il 15 settembre, viene brasiliana. Ricordiamo anche che l’Academia rimase in eseguita, ancora a Rio, la sua seconda opera, Joanna des vita fino all’agosto 1864, quando chiuse i battenti Flandres, su un libretto di Salvador de Mendonça, proprio con alcune recite della prima opera di Gomes. ancora con buon esito. I due successi gli fruttano una Ma torniamo ai primi passi del nostro in Italia, che borsa di studio concessa dall’imperatore Don Pedro II di Gomes mosse abbastanza in sordina, mirando per prima Borbone e dalla consorte Teresa Cristina (figlia di cosa a perfezionarsi (con Terziani e Mazzucato e poi con Francesco II di Borbone, l’ex “Franceschiello” per pochi Lauro Rossi) e a conseguire un diploma da aggiungere mesi re delle Due Sicilie) per continuare gli studi a a quello già ottenuto in Brasile, cosa che avvenne nel Milano. Per quel poco che si può dire delle prime due 1866.
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